the Red Garland school · ii–V–I in A♭ major
Block Chords in A♭ Major
The audio adds each chord's root in the bass — that's the context these rootless shapes are designed to sit in. The MIDI file is exactly the notation.
The notes
| Chord | Notes (low → high) | Formula |
|---|---|---|
| B♭m7 | D♭ – F – A♭ – D♭ – A♭ – D♭ | ♭3 · 5 · ♭7 · ♭3 · ♭7 · ♭3 |
| E♭13 | D♭ – F – G – C – G – C | ♭7 · 9 · 3 · 13 · 3 · 13 |
| A♭maj9 | C – E♭ – B♭ – C – G – C | 3 · 5 · 9 · 3 · 7 · 3 |
Why it works
From B♭m7 to E♭13, 4 voices move (A♭3→G3, D♭4→C4, A♭4→G4, D♭5→C5) against 2 held tones. Into A♭maj9, 3 voices settle by step or small leap (total motion of just 6 semitones). Smoothness here is measurable, not a metaphor.
In A♭ major, 8 of the 18 notes fall on black keys — a mixed terrain that is exactly why this progression must be practiced in every key, not just C. The lowest note is C3 in the octave below middle C; below roughly C3, close intervals start to blur, and this voicing stays clear of that line.
Practice tip: play the progression rubato first and listen for the held tones, then put the metronome on 2 and 4 at a slow tempo. When the grab is automatic, move around the circle of fourths — you are coming from E♭ and headed to D♭. Say the chord symbols out loud as you play; naming and hearing are different skills, and you want both.
Where A♭ major lives in the repertoire
A♭ major is the home key of "All the Things You Are" — the tune's long journey ends by cadencing into A♭ — and a favorite resolution point in the bebop songbook. Charlie Parker heads love living a half step above G, and pianists inherit the key whether they like it or not.
About this voicing style
A chiming right-hand octave with a fifth locked inside, over a rootless left hand. Read the full story and get it in all 12 keys →
Listen: Red Garland on "Billy Boy" (Milestones); "If I Were a Bell" (Relaxin').
Around the circle
Practice keys in the order bassists walk them — up a fourth: ← E♭ · A♭ · D♭ →